Great Metal Albums of 1989: Pretty Boy Floyd- Leather Boyz With Electronic Toyz

Pretty Boy Floyd did not appear on the compilation album I will be posting about in the near future. My introduction to them came from a tape sent to me from my sister in 1990 and it featured the closer from the album, “I Wanna Be With You.” The song did come in at number 19 on my list of Top 30 Power Ballads, so it must be a good song. However, as good as it is, “I Wanna Be With You” is not typical of the rest of “Leather Boyz With Electric Toyz.”

The rest of the tracks on the album scream Motley Crue and Poison as it seems that the band want to sound like both. Judging by their appearance, it could be argued that they wanted to look like them as well. Lead singer Steve ‘Sex’ Summers, cool middle name by the way, sounds like both Vince Neil and Brett Michaels on various tracks on the album. He definitely sounds like Vince on “Rock and Roll (Is Gonna Set the World on Fire)” but the backing vocals sound more Poison. It could confuse one’s mind. To make matters worse, they cover Motley’s “Toast of the Town” and its not a bad cover. However, I’m making a note to listen to the MC original and compare. It could be worth an “Original vs. Cover” post.

We get another power ballad with “Wild Angels.” While I prefer “I Wanna Be With You,” this one is not without its charm. True, they still sound a lot like their influences but they do put some heart into the song. Here comes another comparison. Guitarist Kristy ‘Krash’ Majors rips a cool solo on “Wild Angels” and he shows himself to be a decent guitarist throughout the album. My verdict is that Krash is not quite Mick Mars but I would say he’s better than CC DeVille.

Hidden gem time, although some might call “48 Hours to Rock” hidden because it did find its way onto the soundtrack of “Karate Kid III.” Since I haven’t seen that film in a couple of decades and it has escaped unnoticed for so long, I will call it a hidden gem. PBF really rock this one out and no matter who might have influenced them, this song showed that they were capable of making it on their own merit. This one is a pure cooker. Speaking of cooking, the track “Rock and Roll Outlaws” brings the power chords and could be a second gem, although the chorus sounds too ‘done before.’

Poison’s influence comes through loud and clear on “Only the Young.” This could have easily been a Poison song but Floyd, no not Pink, do a decent job on their own. After two same-sounding but not bad tracks, we get to the already mentioned closer. Listening to the song over the years, if I was the girl Steve was singing to, I might get a bit creeped out. She’s the new girl in school and I guess it’s okay that this one guy is asking her out. Then he gets her number from a friend and calls her up and at the end, declares that she’s the girl he’s been looking for. Ladies, please answer, listen to the song and tell me if such a guy would creep you out.

Track Listing:

1. Leather Boyz With Electronic Toyz
2. Rock and Roll (Is Gonna Set the World on Fire)
3. Wild Angels
4. 48 Hours to Rock
5. Toast of the Town
6. Rock and Roll Outlaws
7. Only the Young
8. The Last Kiss
9. Your Mamma Won’t Know
10. I Wanna Be With You

Pretty Boy Floyd

Steve ‘Sex’ Summers- lead vocals

Kristy ‘Krash’ Majors- guitar, backing vocals

Vinnie Chas- bass, backing vocals

Kari Kane- drums, backing vocals

Additional Musicians:

Howard Benson- keyboards

Matt Bradley, Phil Balvano, Jennifer ‘Miss Frosty’ Hoopes, Paris Hampton, Maura Eagan, Candace Gartland, Elizabeth Goldner, Katharine Lundy- backing vocals

Pretty Boy Floyd were another band which came and went. It could be down to the fact that glam and hair metal were on their way out but who knows? If they could have shaken free from the glam metal influences, they might have gone places.

Next post: A Piece of 80s History I Should Be Shot for Missing

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Great Metal Albums of 1989: Motley Crue- Dr. Feelgood

Critics and fans have called “Dr. Feelgood” Motley Crue’s best studio album. It was their most commercially successful album going six times platinum in the US and gold in many other countries. Furthermore, it produced five singles, two of which made it into the top 40. However, while impressive, this doesn’t make it their best album in my view. That honour belongs to “Shout at the Devil.”

In comparison to my favourite MC album, what they did similar is play to their strengths. It also helped that the band were addressing their demons in regards to substance abuse and were sober when they recorded. They also recorded each of their parts separately as they were all at each other’s throats but fair dues to producer Bob Rock, he combined all their efforts to make a really good album, the best since my favourite one.

Before, I launch into the album proper, I must say that I’ve apologized enough to Mick Mars for calling him the worst guitarist in metal for many years in previous posts. He never accepted my invitation to come to England and give me a slap and now he’s probably physically unable to do so. With that said, his guitar playing is top notch on “Dr. Feelgood.” Arguably, his best effort is on “Sticky Sweet.”

After a brief opener which they unashamedly borrowed from Queensryche’s “Operation Mincdrime” album, the title cut has lots of swagger to it and shows that Motley Crue were going in the right direction. It’s also good to see that they hadn’t lost their sense of humour. While never lyrical geniuses, “Slice of Your Pie” has some amusing innuendos backed up by some more rock swagger. The same can be said for “She Goes Down.”

The problem with an album which produces so many singles, it’s sometimes hard to find a hidden gem but no worries, I find it with “Rattlesnake Shake.” If there is any song which can take me back to “Shout at the Devil,” it’s this one. They put it all together here with some good drum rolls from Tommy and guitar hooks from Mick and even though some might say that Vince sings the title too much, he does make it sound good.

At the middle of the album, you get three of the five singles in succession. “Kickstart My Heart” begins this and even though it was released as a single, it doesn’t sound overly commercial and that’s always a good thing. I think Crue had a good time making this one, at least the video. That is followed by the first of two power ballads on the album, “Without You.” While not bad, I prefer the other one, the penultimate track, “Don’t Go Away Mad (Just Go Away.)” It was the highest charting of the singles but for me it brings the power to the ballad and while Vince puts his soul into both of them, he does it more convincingly on the second one.

That brings me back to the third of the singles string and my favourite of all the singles, “Same Ol’ Situation.” They rock this one out more. It’s one of those enjoyable anthem sounding songs you just want to bang your head along to. There’s much for me to like about it whether it’s Tommy’s drumstick twirling or Mick’s guitar solo. “Dr. Feelgood” ends with a good closer. Were they singing about their change in lifestyle? I don’t know but all the band comes together to end the album right.

Track Listing:

1. T.n.T. Terror in Tinsletown
2. Dr. Feelgood
3. Slice of Your Pie
4. Rattlesnake Shake
5. Kickstart My Heart
6. Without You
7. Same Ol’ Situation
8. Sticky Sweet
9. She Goes Down
10. Don’t Go Away Mad (Just Go Away)
11. Time for Change

Motley Crue

Vince Neil- vocals, rhythm guitar, harmonica, shakers

Mick Mars- guitar, backing vocals

Nikki Sixx- bass, backing vocals, organ, piano

Tommy Lee- drums, backing vocals

Additional Musicians:

John Webster- honky tonk piano, keyboards

Tom Keenlyside, Ian Putz, Ross Gregory, Henry Christian- horns

The following provided backing vocals:

Bob Rock, Brian Adams, Steve Tyler, Donna McDaniel, Emi Canyn, Marc La France, David Steele, Jack Blades, Robin Zander, Rick Nielsen, Skid Row, Bob Dowd, Mike Amato, Toby Francis

“Dr. Feelgood” gained Motley Crue complete success, although some metalheads complained that it was a step further to them simply becoming glam rock posers. However, the success tells the story but personally speaking, while I like this album, especially more than their previous two, I’ll stick with “Shout at the Devil.”

Next post: Due to having to cover a lot of sickness at work, I won’t post an album next. Instead, I will use one of my supplemental post which will be “Historical Events Mentioned in Rock and Roll Children, Music and non-Music Related.”

On another note, I would like everyone to congratulate Mrs. 80smetalman because today officially marks 19 years of her being married to me.

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Great Metal Albums of 1989: Tesla- The Great Radio Controversy

Let me begin the post by inserting another tired cliche but since I began writing 80smetalman more than 13 years ago, I have learned a few things about myself. My latest self discovery from listening to Tesla’s second album, “The Great Radio Controversy,” is that while listening to hour long albums with more than 12 songs is great for driving down the motorway or chilling after an exasperating day but not as fun when you got to write about them. The problem with “The Great Radio Controversy” is that there are so many good songs on this one-hour album that it has taken me longer than usual to give it the fair attention it truly deserved.

Listening to the album again, I’ve learned a few things about Tesla. Back when I reviewed their debut album, “Mechanical Resonance,” I was heavily influenced by my sister Dawn’s review that it was corporate produced metal. Maybe it was but I came to the conclusion that it didn’t matter. So, coming to this album, if it was a corporate produced album, then the corporations got something write because it really kicks ass! It’s the album I forgotten about for a long time but when I played it again recently, realized how magnificent the album truly was.

Dawn stands by her claim that Tesla weren’t the most original metal band in the world and I can see where she’s coming from. It doesn’t overflow with originality, instead, it takes what has gone before and done those things very well. I love how the bass line opens the album on the first track, “Hang Tough” and that’s just the beginning. I won’t go through every song because I don’t think I can do all 13 songs justice. I will say that three singles were released from the album, “Heaven’s Trail (No Way Out),” “The Way It Is” and the power ballad, “Love Song.” Each of these songs did pretty well in the singles market and got their share of airplay on MTV. So, the album was both brilliant and successful.

As always, it’s the deeper cuts which define an album for me and the hidden gem comes in on the fourth track, “Be A Man.” This is definitely a Southern Rock influenced type song with lots of Lynyrd Skynyrd or Outlaws type of swagger. On “Mechanical Resonance,” I sang the praises of guitar duo of Tommy Skeoch and Frank Hannon and that praise should be doubled on “The Great Radio Controversy.” They continue to be a formidable duo, especially on the middle section of the album which is the strongest part. Another song from this part of the album which is standout is the slightly blues influenced “Did It For the Money.” The change ups throughout the song definitely keep the listener interested.

Don’t get me wrong, the album doesn’t go downhill in any way towards the end. If anything, “The Way It Is” signals a change in direction of sorts. In fact, if I didn’t have the track listing in front of me and was listening to the album blind, I might have assumed that the song was the closer. It definitely has that feel to it. The melodic thumping makes me want to hold a cigarette lighter in the air. However, it’s not the end as there are some pretty good songs after. Another thing I can say about “The Way It Is” is that Tesla does here what they did on the debut, lure you into thinking it’s a power ballad before belting you with some power chords and some amazing guitar work. Then again, you could call “Love Song” a genuine power ballad and it’s a beauty. The remaining songs just follow on from their making me want to slap myself for ignoring the album for so long.

Track Listing:

1. Hang Tough
2. Lady Luck
3. Heaven’s Trail (No Way Out)
4. Be a Man
5. Lazy Days, Crazy Nights
6. Did It For the Money
7. Yesterdaze Gone
8. Makin’ Magic
9. The Way It Is
10. Flight to Nowhere
11. Love Song
12. Paradise
13. Party’s Over

Tesla

Jeff Keith- vocals

Tommy Skeoch- guitar, backing vocals

Frank Hannon- guitar, piano, synthesizer, organ

Brain Wheat- bass, backing vocals

Troy Luccketta- drums

One of the ideas for post 1990 posts was a list of American artists who never really cracked the UK and vice versa. They’d be two separate posts but never mind. What “The Great Radio Controversy” has done is add Tesla to that list of American artists because if I hadn’t been in the UK in 1989, I would have eaten this album up.

Next post: It looks like another hour long 15 track album but hey ho. KISS- Hot in the Shade

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Great Soundtracks of 1989: Shocker

I’ve never seen the movie “Shocker.” From what I’ve read and what I remember, it received mixed reviews everywhere. I came to be in possession of the soundtrack via my sister, Dawn, who sent it to me as a Christmas present in 1989. It turned out to be a great present because no matter what is said about the film, this is an amazing soundtrack.

The first and last songs on it are from a super-group calling themselves The Dudes of Wrath. It consisted of Desmond Child and Paul Stanley on vocals, Vivian Campbell and Guy Mann-Dude on guitar, Rudy Sarzo on bass and Tommy Lee on drums. Also, Michael Anthony and Kane Roberts provide backing vocals. No argument from me about this being a super-group. They open the soundtrack with the title track and I have to say, it’s a pretty good way to open things. Paul’s vocals are quite obvious and he and all the dudes do a good job on it.

Second up is “Love Transfusion” from Iggy Pop. After the harpsichord sounding intro, the track goes proper metal. It has a strong, commanding beat and I regret to say but this was my first experience of Iggy. Let me say it was a great introduction. T

That is followed by what I guess you can call the single from the soundtrack, Megadeth’s cover of the Alice Cooper classic, “No More Mr. Nice Guy.” I remember this song getting pretty far up the UK charts in 1990 and even the metal hating UK newspaper, “The Sun,” ran a small article on the band and didn’t say anything negative about them. Still, while this is a cool cover, it wouldn’t win an “Original vs. Cover” competition, at least not in my view.

Up and coming German band, Bonfire, are up next with their song, “Sword & Stone.” Like stereotypical Germans, Bonfire get straight down to business with a cool, straightforward metal jam. This one ticks all the boxes, cool vocals, a strong rhythm section and some excellent guitar solos. Side one ends with a very haunting but hard hitting power ballad from Saraya. Some called this band the next Heart and we will explore that more when I get to their self-titled debut album but for now, I just want to sit back and thoroughly enjoy this power ballad. That piano intro and Sandi Saraya’s vocals are just mesmerizing.

Side two opens with the return of The Dudes of Wrath, only this time, Desmond and Paul are relegated to backing vocals. “Shockdance” is a rap duet between the movie’s villain, Horace Pinker, played my Mitch Pillegi and one Alice Cooper. The track is very amusing, especially the line “And I never do the dishes.” The backing music from The Dudes make sure the rap isn’t a joke.

Like Saraya, another metal band which got some notoriety on this soundtrack is Dangerous Toys and I will be posting their 1989 album in due time. Here, they give us “Demon Bell (The Ballad of Horace Pinker)” and for me, it has 1980s hair metal all over it. Still, it’s a nice track and there was great potential with Dangerous Toys here.

The following two tracks are from bands I have only heard of on this soundtrack. First up is Voodoo X with “The Awakening.” Since, I had never heard of this band I heard this song, I can award it the hidden gem of the soundtrack. It’s a good metal song, sort of Whitesnake before they went into more ballads. It did prompt me to research them more and I can say their one and only album has been added to the list for 1989.

Maybe, like many soundtracks from the 1980s, who try to incorporate all forms of music, the people who put the “Shocker” soundtrack tried it with all forms of metal. Penultimate track, “Different Breed” from Dead On is a nice thrash/speed metal track. While there is nothing ultra spectacular about it, it is good enough for me to add their debut album to the list. The soundtrack ends with a reprise as The Dudes of Wrath takes it out singing, “We will have the power, we will have the glory.” It’s a nice way to end things.

Track Listing:

Dudes of Wrath

1. The Dudes of Wrath- Shocker

Iggy Pop

2. Iggy Pop- Love Transfusion

Megadeth

3. Megadeth- No More Mr. Nice Guy

4. Bonfire- Sword & Stone

Saraya

5. Saraya- Timeless Love

6. The Dudes of Wrath featuring Alice Cooper and Horace Pinker- Shockdance

Dangerous Toys

7. Dangerous Toys- Demon Bell (The Ballad of Horace Pinker)

Voodoo X

8. Voodoo X- The Awakening

Dead On

9. Dead On- Different Breed

10. The Dudes of Wrath- Shocker (Reprise)

Who cares about the film? I ask. This is a great forgotten soundtrack with some excellent heavy metal. Now, I know some of you will come back with “I haven’t forgotten this soundtrack” and that’s cool. In fact, pull it out and listen to it again as it’s that great.

Next post: A joint post with Mike Ladano- Our Top Ten Savatage songs.

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Great Metal Albums of 1988: Crimson Glory- Transcendence

Crimson Glory need to reform and play one concert with me in attendance. The reason, as I explained when I posted about their debut album, I saw the band support Metal Church and Anthrax and was totally unimpressed. In fact, I said after seeing that gig that Crimson Glory need not have been there because Anthrax and Metal Church were that brilliant. However, now that I have heard the debut album and now their 1988 album, “Transcendence,” I am beginning to think that the reader from when I posted about the debut album was right and that it was simply an off night because both of their studio albums, “Transcendence” especially, are really good.

“Transcendence” begins with some progressive metal with “Lady of Winter” and immediately jumps to the power metal of “Red Sharks” and they do it without breaking any sweat. In fact, there is a strong Helloween vibe with the second song, not a bad thing. But both tracks stamp the album’s authority and sets you up for the cool power ballad that is “Painted Skies.” This song extends the all the band member’s capabilities to the limit and the band delivers. Great guitar work, both lead and rhythm, a good bass line, great drumming and some magnificent vocals. It also helps that I am a sucker for a good power ballad.

Not wanting you, the listener, to get bored, Crimson Glory change things up yet again with the near thrash metal sounding “Masque of the Red Death.” I know very little of lead singer, Midnight, but he can easily fit his vocals into whatever the band play. Furthermore, upon listening to him, I am not surprised at the comparisons to Geoff Tate which were going around at the time. Also, I must add another under appreciated guitarist to that ever expanding list. I’m very impressed with the six string wizardry of Jon Drenning.

Things sort of plateau at the midpoint of the album. “In Dark Places” is a solid tune which walks a fine line between the power and progressive metal which Crimson Glory were known for. It’s a good song but not as good as the first four and if a gun was put to my head and I had to choose a song classed as filler, then it would have to be “Where Dragons Rule.” Fortunately, there is no gun at my head and I can say that it’s not filler but a decent song which keeps the album ticking along.

History has said that “Lonely” was released as a single and did fairly well. I can’t say because it never made it to the UK but I can understand why it would have been released as a single as it meets the criteria. It has an ear catching acoustic hook at the beginning followed on by ballad like vocals from Midnight. There is a haunting feel to things with a bassline which suggests impending doom before things liven up. It’s not too heavy but heavy enough but with some more great guitar work from Jon.

Progressive metal returns with “Burning Bridges,” which like the preceding track, starts with an acoustic intro and foreboding bassline. It too goes into a more traditional metal direction and it sounds good, especially the guitar solo. With the keyboard backing, it too could have been a single but I still prefer “Lonely.” Unlike many other albums, the penultimate track here isn’t the least strongest. “Eternal World” comes in with strong power chords and lead guitar work. This one is more speed metal and it rocks, waking you up after two slower songs.

If you need further proof of Crimson Glory’s talent and versatility, then the answer comes in the from of closer “Transcendence.” This track captures and recreates everything done on all the previous tracks and lays it all out before you. There’s progressive parts, power parts and even acoustic bits, which serve to end the album as it should.

Track Listing:

1. Lady of Winter
2. Red Sharks
3. Painted Skies
4. Masque of the Read Death
5. In Dark Places
6. Where Dragons Rule
7. Lonely
8. Burning Bridges
9. Eternal World
10. Transcendence

Midnight- vocals

Jon Drenning- lead guitar

Ben Jackson- rhythm guitar

Jeff Lords- bass

Dana Burnell- drums

Additional Musicians:

Jim Morris, Lex Macar, John Zahner- synthesizer programming

Janelle Sadler, Tim Morris, Jim Morris, The Killing Crew, The Red Death Mob, The Dragon Beast- additional backing vocals

Note to self, don’t judge a band from one off night because it must have been that when I saw Crimson Glory in 1987. “Transcendence” proves this point.

Next post: Lilian Axe

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Great Metal Albums of 1988: Magnum- Wings of Heaven

Over the past few days, I have been asking myself, “Could Magnum be the best British band not to have cracked America?” Listening to the “Wings of Heaven” album, I am beginning to think that the answer is “Yes.” It broke the top twenty album charts in several countries, including hitting number five in the UK and two in Sweden. This album is packed full of some great melodic metal tunes, starting with “Days of No Trust.” While it doesn’t blow your mind to pieces with power chords, it eases you in nice and steady and before you know it, you’re singing along to it. All the band contributes equally on the song and it makes it that much better. It’s not meant to be depressing or negative but it is about the world going to shit while no one does anything about it.

“Wild Swan” is sort of a continuation of the theme set down by “Days of No Trust.” However, it’s done to some heavier power chords and a thudding bass line. Tony Clarkin got the idea for writing the song when he saw some birds still alive and continuing to fly with a crossbow bolt through them. It suggest a search for safety and halfway through the track, you get treated to a mice melodic musical interlude.

Although “Start Talkin’ Love” was released as a single, I don’t think it ever charted. However, it did appear on a metal compilation album a year later and I know it better from that. A song about being separated from one’s true love, it’s done in near ballad form and I really love the guitar hook on this one. “One Step Away” very much reminds me of their title track from their previous album, “Vigilante,” in the musical sense. Tony does rip a cool guitar solo though.

Magnum take the opposite view on male-female relationships on “It Must Have Been Love.” Here, they try to see things from the woman’s point of view. Most songs written from the male point of view take the line of the man hurt by the evil woman so full marks to the band for this attempts. It’s a nice power ballad even if it does sound pretty close to Survivor. The bass line stamps its authority on the song and the backing vocals are very good. Plus, it wouldn’t be a power ballad without a guitar solo.

Inspiration for “Different Worlds” came while on vacation in Southern France. The band went to Nice for a day and after spending most of it in the markets buying a lot of unnecessary items, they turned down a narrow street and saw people lying in the streets with bottles in their hands. Seeing these complete opposites had an effect on the band. Nevertheless, the power chords and the lead guitar intro make this the hidden gem on the album. The keyboards lead the song but with great support from the guitar’s power chords.

Penultimate track, “Pray for the Day” comes in rock like but then goes ballad like and then picks up pace at the choruses. The inspiration for this one came from several knock on effects. First, while visiting Austria, Tony saw a bunch of churches with iron crosses with black gauze. This trigged memories of the Berlin Wall where black crosses were painted in places people were shot and killed trying to escape and a further knock on effect, it triggered memories of a TV programme where a boy was caught in barbed wire and slowly died.

There was no better closer for “Wings of Heaven” than the ten minute progressive jam, “Don’t Wake the Lion, (Too Old to Die Young.)” It’s about World War One” but it’s definitely an anti-war song, pointing out the futility of war. Around the three minute mark, there is an eerie guitar like backed up by a heavy bass drum beat. If anything, this closer shows the versatility of the band.

Track Listing:

1. Days of No Trust
2. Wild Swan
3. Start Talkin’ Love
4. One Step Away
5. It Must Be Love
6. Different Worlds
7. Pray for the Day
8. Don’t Wake the Lion (Too Old to Die Young)

Magnum

Bob Catley- vocals

Tony Clarkin- guitar

Wally Lowe- bass

Mark Stanway- keyboards

Mickey Barker- drums

Question: Do any of my American readers know of Magnum? I think if marketed properly over there, they would have gone down big. “Wings of Heaven” is proof.

Next post: Hopefully tomorrow night I will be going to Gloucester to see Thin Lizzy tribute band, Limehouse Lizzy. If so, you will get the full experience.

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

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Great Metal Albums of 1988: Poison- Open Up and Say Ahh!

In the life of 80smetalman, everyone’s favourite band of phillies with willies, Poison, put out their first two albums in the wrong order. Although the 1986 album, “Look What the Cat Dragged In,” is the inferior of the two albums, it would have suited me more if it had come out in 1988. By this time in my life, I was settling into domestic bliss unlike two years previous when I was still a big party animal. That’s precisely the reason why it would have suited me more if the 1988 album, “Open Up and Say Ahh!” was made two years earlier is because I find it to be one big party album!

“Open Up and Say Ahh!” is an album to have at parties. Every track, okay, except for the power ballad which I’ll get to, is one, cliche alert, to have blasting out the speakers while driving with the windows down. And if you don’t have a car, then it’s one to have playing in the living room while consuming many cans or bottles of amber nectar. What’s even more perplexing is that while many people out there, including some of you, my readers, have called CC DeVille the worst guitarist in metal but he sounds okay on this album.

If any track relates to the party theme, it has to be one of the four singles from the album, “Nothing But a Good Time.” More stereotypical cliches here but it’s a song you have for Friday night as you are preparing to go out and party after a working week. Unfortunately, working a crap job and a baby on the way, I wasn’t able to take advantage of the theme of that song. The other tracks pick up the theme from there with “Back to the Rocking Horse” being the hidden gem. This has a definite hard rock vibe to it and the entire band clicks on all cylinders. “Good Love” has a swagger to it and “Tearin’ Down the Walls” has some cool opening riffs and it another definite hard rocker.

One can’t talk about this album without mentioning the power ballad, do I even have to say the title? Just in case, I do mean “Every Rose Has Its Thorn.” Like hard rocking males back in the 1970s used to play “Beth” by KISS to seduce their ladies, this was the song which metalheads in the 80s used in a similar attempt. It is a cool power ballad even though I sometimes make jokes about it. After all, it did come in at number 15 in my list of top 30 power ballads.

“Fallen Angel” was another single and though I don’t rate it has good as the other singles from this album, I also prefer the cover of the Loggins and Messina classic, “Your Mama Don’t Dance,” especially with CC’s guitar solo, it’s still a great song to keep drinking to. God, some of you might think I’m a right lush. Well, I was more back in the 80s but these days, it’s all done in moderation. That reminds me, I have a bottle of wine in the fridge to finish off.

Track Listing:

1. Love on the Rocks
2. Nothin’ But a Good Time
3. Back to the Rocking Horse
4. Good Love
5. Tearin’ Down the Walls
6. Look Buy You Can’t Touch
7. Fallen Angel
8. Every Rose Has Its Thorn
9. Your Momma Don’t Dance
10. Bad to be Good

Brett Michaels- lead vocals, rhythm guitar, acoustic guitar, harmonica

CC DeVille- lead guitar, backing vocals, keyboards

Bobby Dall- bass, backing vocals

Rikki Rockett- drums, backing vocals

For those of us in the UK, this weekend, with the bank holiday Monday, would be a great time to get this album out, crack open the tins and have a listen. For the rest of the world, you don’t really need the bank holiday as an excuse. “Open Up and Say Ahh!” is Poison’s best performing album, I’m not surprised.

Next post: King Diamond- Them

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Great Metal Albums of 1988: Scorpions- Savage Amusement

Back in the 80s, I used to think that only Led Zeppelin used to go three years or more between albums, however, The Scorpions proved me wrong. Unless you count their brilliant live album, “World Wide Live,” “Savage Amusement” was the band’s first studio album since the colossal 1984 album, “Love At First Sting.” Therefore, the question asked when the album came out was: “Would the four year lay off be a good thing or a bad thing?” My short answer is that it was a good thing.

Things get right down to business with the opener, “Don’t Stop at the Top.” Maybe this song was a wake up call for the band. Perhaps they had spent four years resting on their laurels and realized that if they didn’t put out a new album, they would be forgotten. So, they went back to the studio and recorded this one and used this great opener as their announcement they were back. Right away, with the great soloing by Mathias Jabs and the soaring vocals of Klaus Meine, you wouldn’t have thought they had been away for so long. It’s also the hidden gem on the album.

After being energized by the opener, the album follows with its big single, “Rhythm of Love.” It has a catchy mellow vibe at first but the chorus really rocks. If the opener didn’t convince you, then this one lets you know that the band was definitely firing on all cylinders. They also get Canadian metal queen, Lee Aaron to sing on the track. After the big single, cones another track which was released as single further down the line, “Passion Rules the Game.” It might not have charted but that makes no difference with me, it’s a great Scorpions rocker and like many of the songs on this album, reminds me of my favourite Scorpions album, “Blackout.”

They do change things up a little with “Media Overkill.” 80s sounding effects are used at the beginning but it’s not long into the song where Scorpions normality returns. Okay, there are some weird noises in middle of the song but the song is exactly what you want from the band. “Walking on the Edge” has a great intro with the acoustic guitar and Francis Buchholz’s bass. The track showcases their ability to switch between ballad and hard rocker without breaking a sweat. There are no ballad vibes on “We Let It Rock, You Let It Roll.” It’s the fastest song on the album and just powers its way through its three and a half minute life. Mathias stamps the song with a blistering guitar solo.

“Every Minute, Every Day” is hard for me to describe. While not a bad thing because they definitely make it work, but there seems to be a lot of things going on at once here. Most notable is the rhythm section. Schenker, Buccholz and Rarebell are the glue which holds the song together while Klaus and Mathias work rings around the song. Herman opens “Love on the Run” with some great drumming. It’s another fast song, almost speed metal but the Scorpions were always capable of such feats. “Savage Amusement” goes out with a power ballad, “Believe in Love,” something the band was always good at. Cliche remark but in this case, the track was the best way to end the album.

Track Listing:

1. Don’t Stop at the Top
2. Rhythm of Love
3. Passion Rules the Game
4. Media Overkill
5. Walking on the Edge
6. We Let It Rock, You Let It Roll
7. Every Minute Every Day
8. Love on the Run
9. Believe in Love

The Scorpions

Klaus Meine- lead and backing vocals

Rudy Schenker- rhythm and lead guitars, backing vocals

Mathias Jabs- lead and rhythm guitars, voice box, backing vocals

Francis Buccholz- bass, backing vocals

Herman Rarebell- drums, backing vocals

Additional Musicians:

Lee Aaron- backing vocals on “Rhythm of Love”

Insert further cliche but yes, the Scorpions were well and truly back with “Savage Amusement.” It’s a great album and if they’re going to wait four years before putting out and album, then the wait is worth it.

Next post: Candlemass- Ancient Dreams

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Great Metal Albums of 1988: RATT- Reach for the Sky

The big question I ask myself in regards to RATT’s 1988 album, “Reach for the Sky,” is: Were they on a downward slope? While the album would go platinum and reach 82 in the UK charts, it failed to really make a dent. In 1988, I didn’t even know this album was out at the time. It didn’t help that the two singles released from the album, “I Want a Woman” and “Way Cool Jr.” failed to break into the top 40 in the US, let alone the UK. Funny thing is that when comparing the singles to those from the previous album, “Dancing Undercover,” I like these two more, especially “I Want a Woman,” which is more of a throwback to their former days of glory. Then again, “Way Cool Jr.” has a nice swagger to it.

My hypothesis for the album not getting the love it deserved is that many people might have been in agreement with my sister who claimed that by the previous album, they should change their name to RUTT. However, after re-familiarizing myself with the album, I think it’s pretty good. Definitely better than the previous album in my opinion although still not as good as the first two. “City to City” gives the album a promising start with straight forward heavy metal. It definitely got my attention for the rest of the album.

Following the two singles is a definite throwback to RATT’s early days with “Don’t Bite the Hand That Feeds.” This one has a hard rocking edge while at the same time letting you know it’s a RATT song. Stephen’s vocals are better though the guitar solo could have been a little longer. It gives me the impression that it was played by Robbin because Warren definitely hammers some of the band’s best guitar solos in the past. “I Want to Love You Tonight” starts with a very cool acoustic guitar before going full power chords. I have to admit, it’s a pretty cool power ballad and I can’t help thinking that it’s definitely Warren on the guitar solo here. Am I right in assuming that most of the metal world thought that Warren was the better guitarist of the two? In any case, “I Want to Love You Tonight” is my hidden gem on the album.

Side two brought up a second question for me. Would “Reach for the Sky” follow “Dancing Undercover” with an inferior second side? Kick off track, “Chain Reaction” states that you have nothing to worry about with the second half of the album. It’s as close as RATT would come to speed metal but it’s a strong powerful track and it’s good to see them just go for it here. Melodic power chords on “No Surprise” go further to hold the second half of the album up to the first. It’s more early RATT but at the same time, sounds fresh. By this point, I feel safe to say that RATT were no longer in a rut.

Concern three in regards to the previous album. With that album, I thought the last three tracks were okay by uninspiring. “Bottom Line” with its cool lead guitar intro reassures that it won’t be the case. The band just keeps doing what they had done so far and produce another catchy headbanger. Another plus for the album is that penultimate track, “What’s It Gonna Be,” isn’t the weakest link. It holds its own and not one to skip. Closer, “What I’m After” rocks the album out to a great conclusion.

Track Listing:

1. City to City
2. I Want a Woman
3. Way Cool Jr.
4. Don’t Bite the Hand That Feeds (note: this song was used by pro wrestler Brian Pillman for his ring entry)
5. I Want to Love You Tonight
6. Chain Reaction
7. No Surprise
8. Bottom Line
9. What’s It Gonna Be
10. What I’m After

Ratt

Stephen Pearcy- lead vocals

Warren DeMartini- guitar, backing vocals

Robbin Crosby- guitar, backing vocals

Juan Crocier- bass, backing vocals

Bobby Blotzer- drums, percussion, harmonica, washboard

For me, “Reach for the Sky” was a noticeable improvement from the previous album. That begs the question, Why wasn’t it more popular? Maybe fair weather metal crowd had given up on them but they did enough for the hardcore fans.

Franco Harris

On a non music related note, not only great musicians are leaving us, but also some great sports stars. Two days ago, Pittsburgh Steelers legend Franco Harris passed away. He was largely responsible for me becoming a Steelers fan as he was the one who caught the ‘immaculate deflection’ in the 1972 playoffs and ran it in for a touchdown. The saddest part is that Franco passed away just three days before the 50th anniversary of his great achievement.

Rest in peace Franco Harris

Next post: Merry Christmas

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Great Metal Albums of 1988: Mass- Take You Home

What surprised me about Mass’s follow up album to their debut album, “New Birth,” is that it’s only an EP. I would have thought that a full length LP would have been on the cards, building on the momentum of the debut. “Take Me Home” has only six songs, so the question is, Are they six killer songs?

Opener, “Peddle to the Metal,” gives the impression that the answer to the question is in the affirmative. It’s a real power rocker with all four members firing on all cylinders and it definitely does what an opener should do, grab you by the throat and demand that you listen to the album. Following on, “Can’t Get Enough” reaffirms all the things I said about guitarist Gen D’Itria on the debut. He nails a really great guitar solo, actually, a couple of them and although not as fast as the opener, it’s a great power rocker in its own right.

Mass go near thrash on “Want It Back.” The song opens with a cool drum roll from Joey Vadala and then things just go nuts. The speed of the song is no effort for singer Louie St. August as he breezes through it with his versatile vocal style. The real noteworthy part of the song is the bass line by Kevin Varrio, it really pumps through the song. There is a slight easing of the gas pedal on, “Over You.” It’s a song about moving on after an ended relationship but it’s done fast and powerful and we are treated to a blinding guitar solo from Gene. However, while I won’t call the song weak, it’s the least strongest track on the EP. What brings it down in my eyes is the chorus is repeated a little too much.

The title track is a straight forward metal tune with the band doing everything they do right on it. If they didn’t, then this one would have been the least strongest track. Fortunately, the chorus isn’t repeated over and over till you get bored with it and I do love Louie’s scream at the end. “New Birth” had two power ballads on it but “Take Me Home” has part of one. Closer, “Holy One,” starts as if it’s going to be a power ballad but actually ventures into Black Sabbath type doom metal in places. Then it accelerates to a faster tempo and just cooks. The vocal style changes are done with considerable ease and and the rest of the band keeps up. Full marks to the rhythm section and Gene’s rhythm guitar. I really love the bridge in the middle where it tantalizes you with what appears to be an impending guitar solo but holds off for a minute or two. The guitar solo is short but sweet and the song slows back to power ballad status before the end. Best song on the album and a great way to end it.

Track Listing:

1. Pedal to the Metal
2. Can’t Get Enough
3. Want it Back
4. Over You
5. Take You Home
6. Holy One

Louie St. August- vocals

Gen D’Itria- guitar

Kevin Varrio- bass

Joey Vadala- drums

Unlike with their debut, I didn’t get the opportunity to see these guys live. However, there were people in the UK who had heard of them. Is that strange? I’m sure that if I had, judging from “Take You Home,” they would have kicked even more ass than the first time around. So, the answer to the original question is almost, five and a half killer songs.

Next post: Celtic Frost- Cold Lake

To buy Rock and Roll Children, email me at: tobychainsaw@hotmail.com

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